An article about the story behind the book, originally published here: https://crosseyedpianist.com/2017/01/07/piano-raags/
In this guest post, John explains how his fascination with Indian raags began, leading eventually to his new book…..
My fascination in Indian raags (also spelled raga/rag) was sparked back in 1994-95 during a gap year in Pakistan before going on to study Music at Bristol and Manchester Universities. I had the great pleasure of several late night music sessions in a rural farming village in the Punjab, with local amateur musicians and a visiting classically-trained and highly accomplished ‘radio singer’, known to me only as ‘Ustaad’ – an Urdu term of respect. He accompanied himself on a harmonium – a little equal-temperament reed organ with the bellows pumped by his left hand. Drone notes were held down in the mechanism and his right hand loosely doubled some of his sung melody. Our generous host, a keen music enthusiast, provided the percussion layer on a pair of tabla. It was enthralling music, exotic to my youthful ears, gradually developing from a slow and atmospheric exploration of a tiny handful of notes to fast and frantic, highly rhythmic, full of passion and energy and intoxicating vocal virtuosity. The following year I had a few sitar lessons with Baluji Shrivastav in London – on an instrument I’d bought in Lahore’s music bazaar.
Both as pianist and composer I found an affinity with this music. There’s a peacefulness (and a certain self-indulgence) which I love – a focussed and absorbing stillness – in slowly improvising, with an evocative scale only gradually emerging, initially without the restrictions of a regular pulse. There are beautiful, richly ornamented melodies, and the organic sense of journey and destination. Then comes the thrashing rhythmic drive and the rapturous metric games, the fast and the furious. For the performer the pleasures bear many of the hallmarks of intelligent free jazz, along with a rich eastern mystique.
As composer I explored various aspects of Indian musical thinking in a number of my own pieces, in 2011 culminating in a virtuosic piano duet Raag Gezellig. This sounds partly improvised but is actually through-composed within a fairly typical raag structure. While composing that duet, extensive googling of ‘piano’ plus ‘raag‘ or ‘raga‘ resulted in very little. Harmoniums have been used by Indian classical musicians for the past 150 years; pianos on the other hand have generally only gained a small foothold in Indian pop and in Bollywood film references to western classical music – but not in raags – the highest classical musical art-form of India.
The raag is a genre of highly ornate, partly-improvised music with a typical set of conventions and a typical structure. The nearest equivalent western musical term might be a cross between ‘air’ (a composition dominated by melody) and ‘sonata’ (a musical form with established conventions). The word raag literally means ‘colour’ and from that also ‘passion’ or ‘emotion’. Each individual, named raag is defined by a set of musical ingredients which determine its distinct ‘colour’. Raags are typically played by a melody instrument (or voice) accompanied by a drone instrument and rhythmic percussion, with performances lasting anywhere between a few minutes and a few hours.
Englishman William Bird published from Calcutta his “Airs of Hindustan” way back in 1789 – a collection of short keyboard pieces in a European classical style using Indian melodies (albeit largely major scale) that he’d collected. The result was European music with a slight Indian twist. Subsequently there have been plenty of other musicians – classical composers through to jazz and rock guitarists – who have found a fascination with music from the east and who have created European music inspired by features of Indian music.
But in the past very few years there has been a newly emerging development, on Youtube at least, which has quite suddenly featured a number of musicians, both Indian/Pakistani and European/American, playing classical raags on a piano – ie: using the piano as an Indian instrument playing truly Indian music – not some kind of crossover or simply one genre of music influenced by another. I’d recommend looking up videos of Utsav Lal, a brilliant young raga pianist from Scotland.
As a secondary school music teacher I wrote a simple piano version of Rag Desh in 2013 to help our GCSE students develop an understanding of how raags work. From there came the idea of a bigger piano book containing a number of raags plus instruction on typical ways to improvise on the different sections of musical material. That summer, the book’s scope and size quickly grew because there are countless different and interesting raags to choose from – so many exotic scales, so many characterful motivic permutations and interesting time signatures and rhythmic cycles (talas). Now in December 2016 the finished 258-page book is a collection of 24 raags – reflecting the idea that individual raags are associated with a particular time of day. As well as the sheet music, there are loads of musical examples and a section of ‘Pick and Mix Ingredients’.
The purpose of “How to Play Indian Sitar Raags on a Piano” is first and foremost to open up the astonishing world of Indian classical music to pianists from western classical or jazz traditions who otherwise have no easy way to engage with Indian raags. The aim is to help enable you to perform a (pretty much) authentic, improvised raag, having understood the structure and having practised using, playing around with, and generally enjoying the key raag ingredients, and immersing yourself in a whole new emotional experience. I also hope that some more adventurous pianists will be encouraged to develop the raag tradition further in interesting new directions. The book is for good amateur pianists through to virtuosic professionals. It is suitable for any pianist who enjoys discovering new music, or who has an interest in music from other cultures, or who knows the pleasure of jazz noodling and wants to explore a rewarding and fresh (but centuries-old) form of improvisation.
What exactly is a raag?
At the age of 18 it was difficult for me to get my head around what a raag is, because as a concept it is really rather different to any western music. Western music is written by a composer, who chooses the notes – the pitches, the rhythms and the order they go in etc etc, it is all written down, and the completed piece of music has a title by which it is identified and copyrighted. Performers then play (more-or-less) what the composer has written. But traditional raags just don’t work like that. If ‘Raag Desh’ is listed in a concert programme, for example, all an informed audience can tell from that is that the performance is likely to contain a set of conventions and musical ideas that are historically associated with that raag – ie: improvisation using a particular scale, particular rising and falling versions of that scale, a particular set of little musical motifs etc etc. It does not specify the key, time signatures, rhythms, tempi, character, mood etc. And it probably doesn’t tell us anything that is affected by copyright laws – for instance it doesn’t tell us the name of the tune(s) being used, or who composed it. It is about as specific as saying that the performer is going to play ‘a boogiewoogie blues’
The term ‘Raag Desh’ conveys only this approximate set of historical musical ideas and conventions. This approximate set of ideas is then used by different performers as the starting point for creating a whole range of very different pieces, ie: live performances. Each of these pieces/performances is named ‘Raag Desh’ (despite frequently using completely different melodies), and on paper is distinguishable from the numerous other ‘Raags Desh’ only by the name of the performer and date of performance. To make matters worse, the pre-composed melody (the gat) rarely even has a name (unless it is taken from a song) and is not usually identified anyway, so you don’t know whether it is a variant of an old traditional melody or a newly composed one (by the performer or anyone else). Countless melodies may be associated with a particular raag. To help avoid this issue in “How to Play Indian Sitar Raags on a Piano”, as well as the Indian name I have given appropriate English titles to each of the 24 raags, which I hope my readers will find attractive and evocative. These titles have two functions – first to help you quickly capture the right atmosphere when learning the music, and second, as usual in western classical music, to give a formal identity to these particular melodies and raag adaptations – not least for the benefit of the Performing Right Society – I’ve got kids to feed!